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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Thu Apr 25, 2013 10:25 am 
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Joined: Mon Oct 31, 2005 5:19 pm
Posts: 185
Is there an official link that has announced the news of these births?


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Thu Apr 25, 2013 12:38 pm 
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Posts: 33
Cygne wrote:
Is there an official link that has announced the news of these births?

No. The news came from the theatre. "St. Petersburg News" is very slow. :roll: The Mariinsky Ballet management also doesn't make official announcements on these occasions.
The only sort of official link is here on the news that Matvienko couple were blessed with the arrival of daughter Elizaveta on 27.01.13:
http://www.ukrinform.ua/rus/news/u_zvez ... ch_1484494

Cassandra wrote:
Soutenu wrote:
And best wishes to the Mums' eventual return to their roles. The theatre needs them.


All of them? :twisted:

I know what you mean, Cassandra. Yes, all of them are cordially welcome. The theatre needs them.


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Fri Apr 26, 2013 4:09 am 
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Location: USA-Switzerland
Catherine Pawlick wrote:
...except for perhaps two or three dancers inside the MT, as a sweeping generalization they can't do "off balance" well bc they're not trained in it....


Hi, Catherine. What do you mean by "off balance" dancing ?

If anyone else could define or give some examples of this, it would be great also.


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Fri Apr 26, 2013 5:56 am 
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Russian society remains quite conservative on social matters, compared to the West (N.Am & Europe). News on births to single mothers - especially when the fathers may be married to legitimate wives - is a no-no. A few years ago, a famous Bolshoi ballerina had a child out of wedlock and that news was not officially published, although the news 'got around' and eventually the mother & father married.

The publication in Ukraine about the Matvienko daughter was considered OK as the parents are a known-to-be-married couple

Russia is a long way from Hollywood and 'Entertainment Tonight'! Not my opinion; just a fact.


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Fri Apr 26, 2013 6:18 am 
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Thanks for this insight, Natalia.

I made a reference to some of the old charming Hollywood movies a few posts ago. I guess what I mainly had in mind was that it feels good sometimes to lighten up somewhat.


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Fri Apr 26, 2013 9:45 am 
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Posts: 374
That's for sure, Buddy. Even I get a little squeamish with this topic, as the children are innocents in this, worthy of love and a chance at a happy life regardless of the civil status of parents. Yet, a lot of Americans and Europeans don't quite understand that even today (It's 2013 - hello!), many societies do not celebrate civil unions and/or births that may deviate from traditional religious norms. Non-traditional marriages, living arrangements and/or births would not be 'celebrated' in newspapers and other media in such orthodox countries. That said, I hope that all of the mothers and babies are well...no matter what their circumstances!


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Fri Apr 26, 2013 9:56 am 
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Location: London UK
NataliaN wrote:
That said, I hope that all of the mothers and babies are well...no matter what their circumstances!


Absolutely!!!

I always remember a line from the film Tea with Mussolini when Joan Plowright says 'there are no illegitimate children, just illegitimate parents' It really resonated with me as growing up in the 1950's I really suffered for being illegitimate.


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Fri Apr 26, 2013 10:36 am 
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Thank you very much, Natalia and Cassandra, for your deep-hearted comments.

Not wishing to make any judgements about the parents, all children, as I see it, come into this world totally loving and totally innocent.

Again, for my part, congratulations to all the new mothers (and fathers) at the Mariinsky and may your futures be as bright as possible, both as parents and artists.


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Sat Apr 27, 2013 3:24 am 
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Since we're discussing human beings and not the art for a moment, I found this quote after much searching of the internet to post elsewhere for a different subject. It will probably remain in my mind for as long as I follow the world of dance.

It's from Tamara Rojo after she took over the direction of the English National Ballet.

"I always thought I would see that the art comes first and therefore these decisions have to be made. Then you meet the person and the art cannot come first, because a person is much more important."

http://www.guardian.co.uk/lifeandstyle/ ... let-dancer


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Sun Apr 28, 2013 7:31 am 
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Joined: Sat Nov 03, 2001 12:01 am
Posts: 1746
Location: St. Petersburg, Russia
Buddy wrote:
Catherine Pawlick wrote:
...except for perhaps two or three dancers inside the MT, as a sweeping generalization they can't do "off balance" well bc they're not trained in it....


Hi, Catherine. What do you mean by "off balance" dancing ?

If anyone else could define or give some examples of this, it would be great also.


It is hard to describe if you're not informed about ballet steps. But Balanchine choreography has a lot of "off balance" (I lack a better term) steps. By that I mean a developpé ecarté en pointe into, say, a tombé to the side and the idea is that the weight of the lifted leg after it ascends is then the impetus for that leg to descend, and while doing so the dancer "falls" onto the working leg (foot). Their weight in the developpé is on the standing leg straight up and down but then the working leg (in the air) "pulls" the torso and the body weight to the side. The visual effect is a weight change. Classical ballet doesn't have this, as your weight is always over the working leg, you are always centered and your balance is always centered. If you move, it is based on energy and placement and not momentum. And when you bring a limb down, you bring it under your (already centered weight) you do not move your weight to the place of the limb (in the case of the step just described, ie a developpé ecarté or devant or even into arabesque, that then tombés in the direction of the working leg). It's really difficult to put this into words, I could show you physically though. Another way to describe it may be "leading with the hip" which is also not typically done in classical ballet. We lead with the entire torso --again the weight remains evenly balanced over the working leg -- and the limbs reach out into space.

For example, in Aurora's variation when she does soutenu developpé ecarté she does not then fall towards the lifted leg, she brings it down, controlled, underneath her and then repeats the step. In Balanchine, --actually in the variation in "Diamonds" to name one place-- there are uses of a similar developpé where the dancer then falls towards the working leg, her weight shifting to that direction into an earth-bound tombé.

_________________
Author, "Vaganova Today: The Preservation of Pedagogical Tradition" (available on amazon.com)


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Sun Apr 28, 2013 7:35 am 
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Posts: 1746
Location: St. Petersburg, Russia
NataliaN wrote:
Russian society remains quite conservative on social matters, compared to the West (N.Am & Europe). News on births to single mothers - especially when the fathers may be married to legitimate wives - is a no-no. A few years ago, a famous Bolshoi ballerina had a child out of wedlock and that news was not officially published, although the news 'got around' and eventually the mother & father married.

The publication in Ukraine about the Matvienko daughter was considered OK as the parents are a known-to-be-married couple

Russia is a long way from Hollywood and 'Entertainment Tonight'! Not my opinion; just a fact.


Also -- not just in Russia but in Europe and in most/many US theatres -- it is not considered good policy to discuss the personal lives/events of dancers by publishing it on the company websites. Even married dancers. I know there have been some articles (for example in the SF Chronicle) on "dancers lives" but that is a separate focus, when the emphasis is on how dancers combine art and family, and the dancers agree to be interviewed on the topic. Typically though, theatres do not publicize births, any more than a corporation will do so about its employees. Theatres also do not always announce maternity leaves (there is one more just added at the MT but I have never felt comfy advertising this news here) for the same reason. When the news comes out it is never through official channels.

_________________
Author, "Vaganova Today: The Preservation of Pedagogical Tradition" (available on amazon.com)


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Sun Apr 28, 2013 8:42 am 
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Location: St. Petersburg, Russia
3x3; The Vertiginous Thrill of Exactitude; In the Middle, Somewhat Elevated
Mariinsky Ballet
Mariinsky Theatre
Saint Petersburg, Russia
28 April 2013
by Catherine Pawlick

Upon second viewing --the first being during the Mariinsky's Festival in March this year-- Anton Pimonov's Choregraphic Game 3x3 is an abstract, whimsical piece that layers humor with fun in unique choreographic patterns. Pimonov, still actively performing with the troupe, began trying his hand at choreography last summer and after several successful small works, he was encouraged to continue to create. The results are impressive, and unarguably successful. Here, three men and three women dance for each other, first the women, one by one, and then the men. The concept of "3x3" is apparent in the two gender-based "teams" of expression, with one of the ladies -- Ekaterina Kondaurova -- insistent that she be "heard" repeatedly. Using flexed feet, inclined heads, and the recurrent them of an almost écarté pose in tendu, Pimonov infuses each step with complexity and yet he maintains a consistent choreographic language throughout. Alexander Sergeyev embodied a sexy cowboy with slaps, claps and heel-toe steps; while moments later the 3 couples were taking hands as if in a Renaissance ballroom. Nadezhda Batoeva and Tatiana Tiliguzova danced with assuredness, and both Alexei Nedvega and Denis Zainetdinov attacked the steps with clean force. 3x3 is a victory that needs to be shown during the White Nights Festival and beyond.

The latest Forsythe works to reenter the Mariinsky repertoire -- The Vertiginous Thrill of Exactitude and In the Middle, Somewhat Elevated filled out the remainder of the matinee performance, this time using the second cast that was prepared in February. Vertiginous sported the athletic Vasily Tkachenko, musical and precise in his performance, alongside Alexei Timofeyev, for whom the musical recording at times looked too fast. Anastasia Nikitina and Maria Shirinkina joined Ekaterina Ivannikova for the lightening speed pointe work that characterizes this ballet. Of the three, Shirinkina seemed most at ease, hitting each step clearly without smudging the lines, and staying well with the tempo. Nikitina was able to attack her sections with relish, although later on the port de bras work slowed a bit. Ivannikova is one of the strongest, reliable dancers in the company but here also seemed rushed - at which point the height differential comes to mind. Vertiginous requires shorter girls given its speed, and thus suits Shirinkina perfectly. And while the director has chosen not to cast Svetlana Ivanova any more this season (which runs through mid July), according to sources inside the Theatre, he would do well to reconsider that decision for ballets such as this. Ivanova was sorely missed.

The electric shock factor of In the Middle remains effective no matter if one is witnessing it for the first time or for the fiftieth. Also displaying the second cast of dancers, this performance treated us to Viktoria Brileva (in the role Daria Pavlenko danced in March), powerhouse Nadezhda Batoeva, and again the powerful Ekaterina Kondaurova leading the group. Brileva mastered her sections with utter poise and calm - almost, almost as if the choreography was too easy. In the final pas de deux, Alexander Sergeyev and Kondaurova found a mutual sense of timing that was stunning to watch: a perfectly supported balance, an endless pirouette, and a skyward lift. The sharp steps nonetheless remained fluid and connected. In between we saw Batoeva's snappy delivery and Tiliguzova's assuredness.

With four days to the opening of the new Mariinsky Theatre II building, let us hope the fireworks continue.

_________________
Author, "Vaganova Today: The Preservation of Pedagogical Tradition" (available on amazon.com)


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Mon Apr 29, 2013 3:58 am 
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Joined: Sun Apr 30, 2006 5:02 pm
Posts: 1493
Location: USA-Switzerland
Catherine Pawlick wrote:
Buddy wrote:
Catherine Pawlick wrote:
...except for perhaps two or three dancers inside the MT, as a sweeping generalization they can't do "off balance" well bc they're not trained in it....


Hi, Catherine. What do you mean by "off balance" dancing ?

If anyone else could define or give some examples of this, it would be great also.


It is hard to describe if you're not informed about ballet steps. But Balanchine choreography has a lot of "off balance" (I lack a better term) steps. By that I mean a developpé ecarté en pointe into, say, a tombé to the side and the idea is that the weight of the lifted leg after it ascends is then the impetus for that leg to descend, and while doing so the dancer "falls" onto the working leg (foot). Their weight in the developpé is on the standing leg straight up and down but then the working leg (in the air) "pulls" the torso and the body weight to the side. The visual effect is a weight change. Classical ballet doesn't have this, as your weight is always over the working leg, you are always centered and your balance is always centered. If you move, it is based on energy and placement and not momentum. And when you bring a limb down, you bring it under your (already centered weight) you do not move your weight to the place of the limb (in the case of the step just described, ie a developpé ecarté or devant or even into arabesque, that then tombés in the direction of the working leg). It's really difficult to put this into words, I could show you physically though. Another way to describe it may be "leading with the hip" which is also not typically done in classical ballet. We lead with the entire torso --again the weight remains evenly balanced over the working leg -- and the limbs reach out into space.

For example, in Aurora's variation when she does soutenu developpé ecarté she does not then fall towards the lifted leg, she brings it down, controlled, underneath her and then repeats the step. In Balanchine, --actually in the variation in "Diamonds" to name one place-- there are uses of a similar developpé where the dancer then falls towards the working leg, her weight shifting to that direction into an earth-bound tombé.


Thank you very much, Catherine, for this very informative, for me anyway, explanation and for your time spent doing it.


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Mon Apr 29, 2013 5:01 am 
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Posts: 1493
Location: USA-Switzerland
Let me please offer another thought in regard to George Balanchine and how the Mariinsky, for one, choses to 'interpret' or 'carry on' his work or legacy.

I've sometimes at CriticalDance mentioned the very famous landscape photographer, Ansel Adams. Probably half his work was done taking the picture and the other half was spent developing it. The developing process became an interpretation of what the camera saw. Ansel Adams has left all his negative plates to be used by others for their own reworking or interpretation.

There's such a wealth of material in George Balachine's work, that it seems very conceivable that future artists will draw on it emphasizing one aspect or another, while others may chose to take the entirety literally. As with Ansel Adams, we can always appreciate and make comparisons to the original artist's intent by looking at original prints or in the case of George Balanchine, video records, etc.

From my limited, but enthusiastic, viewing of the Mariinsky's 'interpretations' of George Balanchine, they have been able to take much of the great interest in these works and give them a Beautifully Lyrical emphasis. Ansel Adams, I believe, would have highly approved, and I tend to think that George Balanchine would of as well. We now happily have close-to-the-source interpretations as well as other remarkable interpretations, such as the Mariinsky's, to compare and enjoy.


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 Post subject: Re: Mariinsky 2012-2013 (230th) season
PostPosted: Mon Apr 29, 2013 10:33 am 
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Joined: Tue Oct 25, 2005 8:17 am
Posts: 374
Catherine, ABT's On Pointe magazine (which I assume is now available digitally, in addition to in-print) regularly publishes wedding and 'baby news' photos. I remember the lovely photos of Julie Kent's wedding, for example. I seem to recall similar news about NYCB dancers in that troupe's magazine, too. One soloist couple's engagement was just announced, for example. Maybe it's just in America that such news is 'news'?


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